Silhouetting the subjects in the shot was also something Bruno didn’t implement lightly here. Where at some points they were put in as an artistic choice, in other instances they served to show more than one focus point in the scene. Wide shots, for example, were something heavily implemented in the Half-Blood Prince.
Where did they film harry potter and the half blood prince series#
Having done work on films like Amelie, it was expected that Bruno Delbonnel would bring a lot more classical style of cinematography to this film than the other entries in the series have seen. After Alfonso, the movies began to grow in maturity as Harry grew older, and the look of the films evolved as part of the process. Up until Harry Potter and the Prisoner Azkaban was helmed by director Alfonso Cuaron, the Harry Potter films weren’t exactly captured like art films they were approached as children’s movies, and the focus mattered somewhere else. That’s when I suggested to go for this (again) dark moody variations of grays.” – Bruno Delbonnel, Nevertheless the drama is still there and I thought it would be interesting to have those very intimate stories amidst this very dark mood. It was Potter number six, the story was less about the big fights than the relationships between the characters. How could I light them in a different way? This question brought another one based on the series itself. “Some of the sets are there since the very first Potter. It was the film’s way of showing that everyone was trying to make the most of what they could with the time that they have. Every light-hearted scene was done with bleak colors, a dreamlike glow, and an overall style that subtly set in stone the fact that all of this was only temporary. Keeping this in mind, Bruno approached the film’s look with an ominous backdrop. Because of the Half-Blood Prince being the penultimate entry in the series, this film was done in a way to let us revisit Hogwarts as a normal teenager one last time focused more on love triangles, love potions, Quidditch matches, and skipping classes, it served as a calm before the storm that was to come with the final Deathly Hallows films. One of the directions David Yates took in direction of this entry in the series was that it would be more light-hearted than the last installment.
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Every single scene in Harry Potter and the Half-Blood Prince looks like it had effort put into it, whether it was a serious moment in the film, or whether it was Lavender Brown obsessively breath-fogging a heart into a window for Ron as Harry awkwardly sat watching. The great thing about Bruno Delbonnel was that he always wanted to challenge himself on the set. He may arguably be the most well-recognized cinematographer the Harry Potter series ever had.
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The cinematographer behind this film was Bruno Delbonnel, who’s also known for his work on Amelie, as well as the recent Coen Brothers’ film Inside Llewyn Davis.
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Out of all the films in the series, Harry Potter and the Half-Blood Prince is the only one that was nominated for an Oscar for Best Cinematography that fact isn’t a surprise at all, either. But where this film polarizes me is in its cinematography, which is arguably the best ever done by the series altogether. Along with that is a number of other criticisms I have with it, almost all of them relating to differences between it and its book counterpart, and I’m pretty sure they make the Half-Blood Prince my least favorite film in the Harry Potter series.
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Because of the decisions made by the studio to build momentum up to the last two films of the franchise, the sixth installment ended abruptly and anticlimactically. Harry Potter and the Half-Blood Prince is one of those films that I have a bi-polar appreciation for.